Tag Archives: Helena Bonham Carter

Outtakes

Shotgun Wedding

Leave a comment

Enola Holmes 3

by George Wolf

The air of Enola Holmes has only gotten fresher since the franchise debut in 2020. While more and more star-studded streamers carry the obvious stench of algorithm engineering, the formula at work in these Netflix installments seems perfectly suited to keeping the attention of home viewers.

First off, EH3 presents a headline-grabbing mystery: Enola’s legendary brother Sherlock (Henry Cavill) has been kidnapped! And the timing couldn’t be worse, as Enola (Millie Bobby Brown) is trying to fight off serious doubts about her upcoming marriage to Lord Earnest Tewkesbury (Louis Partridge).

“Yes, he has a first name,” Enola tells us. “I was surprised, too!”

Brown’s ease with the fourth wall is just one part of her irresistible embodiment of this role. The personal invitation into Enola’s life and adventures is welcome, and Brown gives us a heroine that is endlessly fun to root for as we follow along.

Sherlock’s kidnapping means the dashing-as-always Cavill is more out of sight than last time, allowing Brown the focus she more than deserves. Her Enola wants to get married, yes, but she also wants to keep the name and standing she’s worked hard to attain. Enola is smart, heroic, flirty and romantic, a pretty super girl in her own right.

Director Phillip Baratini and writer Jack Thorne (both from Netflix’s Adolescence) make sure Brown gets the chance to show all those sides of Enola. And while the mystery may play out a tad too conveniently, the visual aesthetic bursts with interactive sleuthing and multimedia pop-ups that are consistently engaging.

The returning support cast (including Helena Bonham Carter, Himesh Patel, and Hattie Morahan) adds to the wonderfully frisky chemistry of the entire ensemble. Part three also allows some nostalgia for how these characters (especially our engaged couple) have grown, giving the film some sweet moments of emotion.

Forget about Sherlock’s kidnapping, Enola Holmes may be solving the mystery of holding a streaming audience without condescension or spoon-feeding. And once again, that’s a formula worth repeating.

New In Theaters

It’s No Tea Party

Leave a comment

Alice Through the Looking Glass

by Hope Madden

One billion dollars. That’s global money, keep in mind, but still, who’d have thought Tim Burton’s utterly banal and forgettable 2010 acid trip Alice in Wonderland had made so very much money? Too much – and not just because the film had no genuine merit, but because that kind of sum necessitates a sequel, however wildly and wholly unnecessary – even unwanted – that kind of muchness must be.

And so, back to Underland we go, accompanying an adult(ish) Alice who returns from a stint as sea captain to find Victorian England just as restrictive as it had been when she was a child escaping into her imagination. And so, to her imagination she returns.

Director James Bobin (The Muppets) has the unenviable task of following Burton into the rabbit hole – not unenviable because he may suffer by comparison, but because his options are somewhat limited based on the film’s predecessor. Expect garishly overdone visuals that offset weekly drawn characters.

Familial tensions are at the heart of the tale, penned by Linda Woolverton and based on some of Lewis Carroll’s most dreamlike and incongruous storytelling. Too bad Woolverton and Disney insisted on hemming Carroll’s wild imagination inside such a tediously structured framework.

The Hatter is depressed to the point of death and Alice has to go back in time to save him. Basically. But you can’t change the past – a lesson she’d allegedly learned in her first fantastic voyage, but I guess it didn’t stick. So, let’s learn it again, with the help of Time himself, as played by Sacha Baron Cohen with a Schwarzenegger-esque accent.

Aside from that new face, the same forgettably wacky group returns to the future/past. The talented Mia Wasikowska struggles to find life inside the bland Alice while Helena Bonham Carter pointlessly chews scenery.

An underused Anne Hathaway brightens certain scenes, and Johnny Depp – reliable as ever inside a fright wig and exaggerated make up – does bring a wistful humanity to the otherworldly events.

But imagination and tiresome capitalism butt heads from the opening sequence, and without the foundation of compelling characters or the requirement of engaging storytelling, Through the Looking Glass proves to be a pointless, though colorful, bore.

Verdict-1-5-Stars